The Kamennoostrovsky Palace is perhaps one of the most mysterious and little-known imperial residences. And not even because the place in which it is located is reliably hidden by centuries-old trees and the territory of the palace is fenced with a high wall. The fact is that after the nationalization of the palace in 1917, it came under the jurisdiction of the military and belonged to the military departments until 2007. It is for this reason that access to this most beautiful corner of St. Petersburg was closed.

History of the palace

Catherine II gave Kamenny Island to her son Pavel Petrovich in 1765. Construction of the Kamennoostrovsky Palace began in the spring of 1776. History has not preserved the name of the author of the project. The construction began on the site of the wooden palace of A.P. Bestuzhev-Ryumin, who previously owned the entire island.

The construction work was supervised by architect Yu. M. Felten. Due to the flood of 1777, construction was suspended, and then Felten was replaced by G. Quarenghi. In 1778, the Front Gate was installed at the entrance to the palace, the Church Gate appeared at the end of the main alley, and the Marble Gate from the embankment, which in 1810 was moved to the first Kamennoostrovsky Bridge, and even later (1956) to Pavlovsky Park.

The construction of the building was completed in 1780, but interior decoration continued until 1782. Despite the fact that the work had not yet been completed, in January 1780 a magnificent reception was held in the palace dedicated to the Empress.

Since 1797, the Kamennoostrovsky Palace began to be prepared for the stay of Stanislav-August Poniatowski, the Polish king who was dethroned. Architect V. Brenn was invited to design the interiors. The Marine Salon was converted into the Crimson Living Room, the Great Hall became Mirrored, and unique frescoes with views of Rome appeared in the Antechamber, painted by V. Brenna himself and with F. Labensky based on ancient engravings by Piranesi.

In 1801, after Alexander I ascended the throne, the Kamennoostrovsky Palace, a photo of which you can see in this article, became one of his favorite residences. At the beginning of the reign of Alexander Pavlovich, the “Unofficial Committee” met in this palace. In 1812, it was here that the Emperor entrusted M.I. Kutuzov with the command of the Russian army.

In 1811, a third floor was built over the second floor of the wing, in which the office of Alexander I was equipped. The decoration of the room according to the design of V.P. Spasov was completed in 1824. In the 1820s, most of the palace's rooms were re-painted by the famous decorative artist B. Scotti. In 1828, the theater wing was rebuilt by architect Z. F. Dildin.

After Alexander I, the owners of the palace were Prince Mikhail Pavlovich and his wife Elena Pavlovna. In 1836, A.S. Pushkin visited them. And from 1852 to 1854 A. Rubinstein lived here. The daughter of Elena Pavlovna and Mikhail Pavlovich, Ekaterina Mikhailovna, married the German Duke, General Georg of Mecklenburg-Strelitz, who was in the Russian service. Their daughter Elena Georgievna received the Kamennostrovsky Palace into possession.

Palace Park

In 1824, according to the project of Thomas de Thomon, the park, which belonged to A.P. Bestuzhev-Ryumin, was redeveloped from landscape to regular. This work was carried out by the famous garden master F.F. Limin. Near the palace, octagonal and oval flower beds were laid out, the central alley was decorated, and it was decided to design the more remote areas of the garden in landscape style.

Description of the palace

Kamennoostrovsky Palace (St. Petersburg) is an example of classicism in architecture. In shape it is a stretched letter “P”, in which there is a central building and wings located at right angles to the main building. One façade of the palace faces the palace garden and the front yard. It is decorated with a six-column portico and a pediment of the Tuscan order. A staircase leads to the front entrance. It is made of magnificent Finnish granite.

The center of the facade facing the Neva is decorated with an eight-column portico, which ends with an attic. The central building housed: the Great Hall, the Antechamber, the Marine Salon, the gallery, the office and the Picture Hall. One wing contained living quarters, the other a theater. The palace still preserves today two halls from the Pavlovian era with frescoes depicting Rome, the private chambers of the princely couple, and two living rooms dating back to the mid-19th century.

Recent history of the palace

In Soviet times, the Kamennoostrovsky Palace, whose address is Kamennoostrovsky Prospekt, 77, was transferred to a sanatorium that belonged to the Leningrad Military District. In early 2008, the Lapin Enterprise began investigating the condition of the palace. Then the specialists compiled a report, technical specifications and prepared a restoration project. It was planned that by the end of 2008 it would be possible to restore the waterproofing of foundations and basements, and the facades would also be put in order.

The St. Petersburg State Public Institution “Kamennoostrovsky Palace” took an active part in this as an intermediary, which held a competition for the restoration, supply and assembly of lamps for the palace, and the selection of qualified specialists. However, the restoration of the palace was delayed. There were reports in the media that it was planned to turn the palace into the seat of the government of St. Petersburg, but, to the surprise of many city residents and guests who came to St. Petersburg, the Kamennoostrovsky Palace was turned into a more publicly useful facility. Its discovery became known at the end of 2015.

Kamennoostrovsky Palace: “Academy of Talents”

The city authorities of St. Petersburg have prepared a wonderful gift for schoolchildren on the eve of the New Year 2016. In mid-December 2015, representatives of the public and the press visited the Kamennoostrovsky Palace in St. Petersburg. They were presented with the “Talent Academy,” a budget institution created for additional out-of-school education.

Every day here is full of creative and intellectual events for St. Petersburg schoolchildren: conferences, exhibitions, concerts, seminars. Every day more than a hundred schoolchildren can visit the Kamennoostrovsky Palace. The Academy has twelve thematic departments, a children's television and video studio, a studio for the palace guardians, a center for intellectual games, an exhibition and concert hall, twenty-four classrooms for classes, electronic music classes, a holographic theater, and a laboratory for physical experiments. Let's get to know the unique institution in more detail.

Project objectives:

• organizing a platform for self-realization of gifted creative youth, allowing them to identify talents and help children choose a future profession;
• organically integrate modern technologies into classic palace interiors without damaging the architecture of the building.

The project helps develop the most diverse abilities and talents of young St. Petersburg residents visiting the Kamennoostrovsky Palace. The Talent Academy is divided into five scientific, educational and creative zones.

Entertaining Science Studio

This center implements various general development programs. Laboratory programs in chemistry, physics, geography, biology, ecology allow children to independently conduct research using PASCO laboratory instruments and make their first discoveries.

Concert and theater center

“Talent Academy” is an excellent platform for holding creative evenings, reporting concerts, and theatrical performances.

Center equipment:

• Bose sound reinforcement kits;
• mixer for sound sources;
• Robe lighting equipment;
• set of radio microphones.

Intellectual games studio

In this center, children develop creative thinking techniques, temporarily becoming famous experts on popular television intellectual games, and participate in city brain fitness competitions.

Project Activity Center

It is intended for holidays, costume balls, time travel, role-playing games. Thanks to a modern information display system, video conferencing and a conference system, the center has become a popular platform for meetings and discussions between children and actors and scientists, athletes and musicians, and politicians.

Coworking space

It is intended for collective creative work. A huge interactive video wall is created from four LCD panels. With its help, you can open videos, images, documents in PDF format, and save notes.

Class

The Academy has a well-equipped multimedia classroom, which is designed for presentations, interactive programs, and video broadcasts. The class uses interactive educational materials on astronomy, history, and military-patriotic education.

High-fidelity images, surround sound and electronic quizzes make the experience an exciting journey.

Visual Arts Studio

This media center has a virtual studio, a set of powerful lighting equipment and professional video cameras, and modern graphic stations for video editing. Cameramanship, television journalism, photography, editing, animation - students of the Academy can try their hand at each of these areas.

Palace Keepers Studio

Schoolchildren studying at the Academy know well that the Kamennoostrovsky Palace is a most valuable object of cultural, historical and architectural heritage of the city and the country. The eminent and even crowned owners of the palace, who created interesting traditions, left a large number of mysteries and secrets, gave legends to the city on the Neva and bequeathed to their descendants to keep the palace and talk about it.

These are the tasks that the young “guardians of the palace” face. This studio was created for schoolchildren who love history. Here they are given a unique opportunity to work with archival documents, immerse themselves in the distant past, when Russian Emperor Alexander I and Princess Elena Pavlovna lived in this palace. Here the children put together and analyze historical facts, and then tell their peers about them.

In this studio, based on MS Kinect and an LCD panel, an unusual virtual fitting room has been created, where each visitor can try on a historical costume that interests him, take a photo in it and send it by email. And that's not all - the excursion into history will continue in an amazing gallery of paintings coming to life, which will impress even those who have little interest in history.

A living picture is an LCD panel enclosed in a baguette. There is a webcam installed in its upper corner. First, a portrait of a famous person who has left his mark on history appears on the display screen. At the moment when a visitor approaches the painting, the webcam instantly reacts to movement, and the character suddenly “comes to life” and tells a short story about himself.

The Talent Academy is completely different from a traditional educational institution. This is a modern, high-tech education project site, which includes a variety of thematic centers. The teaching staff of the Academy is made up of young and promising teachers who love their work and children, who already have experience working with talented youth.

Unique methods and proprietary programs allow not only to reveal the hidden talents of children, but also to reveal their full potential. The work of the Academy is carried out on a contractual basis with city schools. Every student in St. Petersburg can choose the direction he likes and sign up for classes.

How to get there?

If you are planning to visit the Kamennoostrovsky Palace, we will tell you how to get here below.

You need to take the metro to the Chernaya Rechka station, change to trolleybus No. 34, which will take you to the Kamenny Ostrov stop. Go to the opposite side of the street and walk about one hundred and fifty meters along the Malaya Nevka embankment to the entrance to the palace. Don't forget to take your schoolchildren with you - they might be interested in the Talent Academy.

There was the first chancellor of the Russian Empire, Gavriil Ivanovich Golovkin. The island was granted to him by Emperor Peter I in 1704. Ten years later, a small wooden house was built on the highest point of the island, which, however, bore the loud name “palace of the great chancellor.” The house, painted “brick,” stood on a high stone foundation, it had a high “broken” roof and two octagonal towers.

In the spring of 1746, the famous nobleman of the Elizabethan era, Chancellor A.P. Bestuzhev-Ryumin, became the owner of Kamenny Island. A magnificent estate was built on the island, the basis for which was a palace erected on the south-eastern spit. There were two service wings nearby. The palace was surrounded by an extensive garden - an indispensable part of a rich country residence of that time.
The new owner of Kamenny Island was arrested on February 15, 1758 on charges of “abuse of power and treason,” the reason for which was negotiations between Bestuzhev and the wife of the heir to the throne, Ekaterina Alekseevna. The former chancellor was expelled from the capital, almost all of his estates were confiscated. With the coming to power of Empress Catherine II, Bestuzhev was acquitted by a special manifesto. Almost all the taken property was returned to him, but the return of Kamenny Island did not follow. For many years this site became the property of the imperial family.

In 1763, the Empress gave the island to the heir to the throne, her son Pavel Petrovich, for the establishment of a country residence. A few years later, on the site of the dismantled Bestuzhev manor house, construction began on a two-story stone palace, timed to coincide with the birth of the first child of the grand ducal couple - Pavel Petrovich and his first wife Natalya Alekseevna. It was carried out under the leadership of the architect Yu. M. Felten in 1776-1781. The name of the author of the project remains unknown. According to different versions, it was the architect V.I. Bazhenov or Felten himself. Later, G. Quarenghi took part in the construction of the palace. The composition of the palace is extremely laconic, the details are strict and perfect, and the perfectly found proportions correspond to the surrounding landscape. The palace was built on the model of a rich country estate of the second half of the 18th century. The building is two-story, in the form of a strongly stretched letter “P”. The main building and side wings equal in height limit the front yard, directly connected to the garden. The western wing formerly housed the palace theater, and the eastern wing housed the living rooms of the grand ducal couple. Both facades of the palace are designed as front facades. The center of the park facade is decorated with a six-column Tuscan portico with a pediment. The opposite facade, facing Malaya Nevka, is also highlighted by a Tuscan portico, but with eight columns. The portico is completed with a classic triangular pediment with medallions. A staircase made of red Finnish granite leads to this entrance. The palace also has service entrances with elegant marble staircases and cast-iron railings. The windows on the first floor are decorated with profiled frames and are significantly higher in height than the windows on the second floor. The rectangular window openings of the wings regularly alternate with white pilasters that unite both floors of the building.

The central building of the palace is strictly symmetrical. From the main entrance one could get into a vast lobby or antechamber. This is a rectangular room with windows overlooking the palace garden. The main decorative effect in its decoration is produced by magnificent frescoes, executed in 1797 according to the design of V. Brenna. Their subjects were taken from the engravings of the Italian artist Piranesi (series “Views of Rome”) and painted by the artist F. Danilov in 1782. Decorative panels for the lobby were commissioned from the French painter Robert. His creations decorated many palaces of that time. Also preserved are desudéportes, the subjects of which are borrowed from paintings on Greek vases. They are enclosed in carved gilded frames made by carver P. Spol. The doors of the antechamber opened into the central room of the palace - the Great Hall. This is a double-height gallery hall with rounded corners of the walls. Thanks to this layout, it received a second name - the Oval Hall. The length of the Great Hall is about 20 m, width - 8.5 m. In the center of the end wall there is a door with a desudeporte in the form of a rectangular stucco panel with griffins. At the second floor level there are white rectangular panels with rosettes in the corners. They stand out effectively against the blue background of the walls. The windows of the hall on the opposite wall had mirrors of the same height. Paul's decision to make the Great Hall mirrored apparently came after his visit to the famous mirror gallery at Versailles.

By analogy with the Louvre, the Great Hall could also be called the Hall of Caryatids. Along the longitudinal walls, between the windows!* there are alabaster statues installed in mirrored niches - majestic female figures on high semicircular pedestals, structurally connected to the wall. Their attire is tunics with softly falling waves of folds and Egyptian headdresses. With their hands raised high, they seem to support carved gilded lamps. In the hall there are marble sculptural groups “The Shepherd and the Nymph” and “Diana on the Lion”, previously intended to decorate the palace garden.
The doors of the hall opened onto the garden portico area. On warm summer days, wicker furniture was brought out here, refreshments were served, and the surrounding landscapes were admired. The Great Hall once hosted receptions at the “small court,” family celebrations, balls, and masquerades. On both sides of the Great Hall there were state drawing rooms - the Raspberry Room and the Landscape Salon (a small palace art gallery). Behind the living rooms on two floors there were the so-called Upper and Lower offices of the Grand Duke. They communicated with each other by a specially built-in wooden staircase, which no one except the owner and those invited by him could use. On the ground floor of the residential wing there was a living room, a dining room, the Grand Duchess's office and a library. All rooms were compactly grouped around a square light courtyard. On the second floor there were children's and guest rooms, rooms for the palace staff. A variety of service rooms were also located on the semi-basement floor. Sculpture, vases, mirrors, red and blue tiled fireplaces, oak floors, wallpaper and wooden panels on the walls - all this delighted contemporaries, making them talk about the “exquisite taste” with which the palace was decorated.

After his accession to the throne, Pavlovsk and Gatchina became Paul I’s favorite residences, and he rarely visited the palace on Kamenny Island. In 1797, the last Polish king, Stanislaw August Poniatowski, lived in the palace for some time. After the palace coup and the assassination of Paul I in 1801, Emperor Alexander I ascended the throne. Kamennoostrovsky Palace became one of his favorite residences. In this regard, in 1808-1811, new construction work was carried out here according to the design and under the supervision of the architect L. Ruska. Above the second floor of the western residential wing, a third floor of four rooms was added, arranged around a light courtyard. Here was Alexander's Upper Office with a reception area and a room for the duty officer. Two staircases were built to these rooms, one from the side of the palace courtyard, and the other, a narrow wooden one, connecting the main office on the second floor and the secret one on the third.

To the west of the palace on the banks of the Malaya Nevka, a small pier was built in 1810. The romantic features characteristic of Russian classicism appeared in the sculpture: a pair of identical sphinx sculptures “guards” the pier on both sides. There are several gates in the park fence. Three gates, decorated with paired columns, were erected simultaneously with the construction of the palace. Another gate in the palace garden, built in the 1810s, is believed to be the work of the architect Thomas de Thomon. They look like a triumphal arch, decorated with rusticated Doric columns. Tomon redesigned the garden adjacent to the palace, turning it from a regular one into a landscape one. It is in this form that the palace has survived to this day. The Kamennoostrovsky Palace was rebuilt several times throughout the nineteenth century, its layout and decoration of many interiors were changed. After the construction of Kamenno-Ostrovsky Avenue, the garden was separated from it by a new cast-iron fence.

Malaya Nevka embankment, building 1

Kamennoostrovsky Palace in St. Petersburg. A historical building in the classicist style, a former imperial country residence, built according to the design of Yu. M. Felten and Giacomo Quarenghi in 1776-1782 for the heir to the throne, Pavel Petrovich. Currently, the palace is being restored for use as the residence of the governor of St. Petersburg.

The first owner of Kamenny Island was Chancellor A.P. Bestuzhev-Ryumin, but in 1765 Empress Catherine II bought the island and gave it to her son, heir to the throne Pavel Petrovich. The construction of the imperial palace under the general leadership of Yu. M. Felten began in 1776, but a severe flood delayed construction and G. Quarenghi had to complete the construction of the palace.

The two-story palace in plan somewhat resembled an elongated letter “P” with a central building and wings attached to it. The front facade, facing the palace garden, was decorated with a 6-column portico with a pediment of the Tuscan order; a staircase made of Finnish granite leads to it. The facade facing the Neva was decorated with an 8-column portico with an attic. A distinctive feature of the external appearance of the palace is the careful drawing of all architectural details. The palace complex also includes the Invalid House, Kitchen Building, Utility and Wood Yards, a stone stable, an arena, a guardhouse, a palace garden and a garden master's house.

The main premises of the main building of the Kamennoostrovsky Palace are the Antechamber, the Great Hall, the Gallery, the Marine Salon, the Picture Hall and the Study. One of the wings housed the palace's own theater. During numerous reconstructions and repeated changes of owners of the palace, the interior interiors were often modified, so the Marine Salon became the Crimson Living Room, the Great Hall became the Mirror Hall, and the Antechamber acquired frescoes with views of Rome.

Paul I, while still heir, quickly lost interest in his palace, preferring to live in Pavlovsk, so in 1797 they decided to give the Kamennoostrovsky Palace for the residence of the dethroned Polish king Stanislav-August Poniatowski. The palace again became an imperial residence, and a beloved one, under Alexander I, at which time a new office for the emperor was built over the second floor of the residential wing. After the death of Emperor Alexander, the palace was owned by his brother, Grand Duke Mikhail Pavlovich and his wife.

After the revolution of 1917, several institutions changed in the palace - first there was a hospital, then a colony for street children and, finally, an air force sanatorium. Recently it was decided to transfer the Kamennoostrovsky Palace for use as the residence of the governor of St. Petersburg.

The Kamennoostrovsky Palace is included in the Unified State Register of Cultural Heritage Objects (historical and cultural monuments) of Russia.

Note to tourists:

A visit to the Kamennoostrovsky Palace will be interesting for tourists interested in the architecture of the second half of the 18th century, and can also become one of the points of the excursion program while exploring neighboring attractions - the dacha of the Prince of Oldenburg, the Quiet Rest park, .

100 great sights of St. Petersburg Myasnikov Sr. Alexander Leonidovich

Kamennoostrovsky Palace

Kamennoostrovsky Palace

This is one of the most little-known and even mysterious imperial residences. And not only because the spit of Kamenny Island, where the palace stands, is obscured by centuries-old trees, and the palace territory is fenced off from the main part by a wall and a high fence. The fact is that after the palace was nationalized in 1917, it came under the control of the military. And it was under the rule of people in uniform until 2007. Therefore, access to this most beautiful corner of St. Petersburg was strictly closed. Among the townspeople, the entire palace territory received the unofficial name Malaya Zemlya.

The Stone Island on which the Kamennoostrovsky Palace was erected has always been called the “Pearl of St. Petersburg.” A.S. lived on Kamenny Island in the summer months with his family. Pushkin, and here he wrote the famous poem “I erected a monument to myself not made by hands...”. All of St. Petersburg flocked here.

The name of the island probably dates back to the 14th–15th centuries, when these lands belonged to Veliky Novgorod, and later became its property. Along the coast of the island, the pilot's charts noted rocks protruding from the water, including a huge boulder rising out of the water opposite the southern shore, which could have given rise to the name. At the beginning of the 18th century, the island was sometimes called the Stone Nose (“nose” means cape).

The low-lying, often flooded territory required the construction of a canal system to drain it and develop it. In 1777–1779, a Grand Canal with a triple linden alley and a rectangular pool was dug in the central part of the island from north to south. A branch branched off from the Grand Canal to the east, ending in a round pond.

Since the end of the 18th century, Kamenny Island was a fashionable summer vacation spot for the highest St. Petersburg nobility. More and more often, when mentioning him, one could hear enthusiastic words.

Like the neighboring islands, Kamenny Island has repeatedly passed from one owner to another.

Peter I granted the island to his second cousin, Chancellor Gavriil Ivanovich Golovkin. By inheritance, the island passed to his eldest son Alexander. Alexander Gavriilovich Golovkin sold this estate to the wife of Chancellor Alexei Petrovich Bestuzhev-Ryumin. The chancellor's son Peter ceded it to the treasury. After this, Catherine II gave Kamenny Island to her son, Tsarevich Pavel Petrovich. By decree of Pavel Petrovich, a new palace was built on the site of the Bestuzhev-Ryumin house, a complex of palace buildings that still exist today. The island was the property of the imperial family until 1912. By this time, Kamenny Island had turned into a unique museum of country mansions, where, as in the exhibition, classicism and the Renaissance, Gothic and Russian style, medieval castles and ultra-modern declarations of Art Nouveau closely coexisted and easily coexisted. This exceptionally picturesque architectural originality of Kamenny Island is still preserved. By the way, at the turn of the 20th and 21st centuries, the tradition of building mansions on the island was revived.

In 1912, the Duke of Mecklenburg-Strelitz and the Princess of Saxe-Altenburg transferred the island to the municipal government.

The Kamennoostrovsky Palace began to be built according to the design of the architect Yuri Matveevich Felten on the eastern tip of the island in 1776. The design of the palace was made in the then fashionable style of a country estate with service buildings, outbuildings, stables, greenhouses, and an extensive garden. In 1777, due to a devastating flood in St. Petersburg, construction work was interrupted. Later the work was headed by the architect Giacomo Quarenghi. He completed the final design of the interior layout and decoration of the building.

Kamennostrovsky Palace. Modern look

The two-story palace has a highly elongated U-shape in plan. Its southern façade faces Malaya Nevka, and its northern façade faces the vast front courtyard. The yard is limited on the sides by the side wings of the building. The center of the northern façade is accented by a six-column portico of the Tuscan order, and the southern one is decorated with an eight-column portico completed by an attic.

The external appearance of the Kamennoostrovsky Palace is distinguished by its excellent detailing and excellent proportions. It is not for nothing that the building is recognized as an outstanding monument of classicism.

In the left wing of the palace there was a dining room, a living room, two offices with a library, and in the right wing there was a theater.

Imperial troupes subsequently performed on the stage of this theater. While Paul traveled around Europe in the early eighties of the 18th century, finishing work continued in the palace itself.

In 1784, Pavel Petrovich invited the architect Vincenzo Brenna to work in the Kamennoostrovsky Palace. Thanks to him, a significant part of the interiors of the palace on Kamenny Island was created. An extensive regular park was laid out next to the palace.

There are many stories and legends associated with the Kamennoostrovsky Palace. After the accession of Alexander I to the throne, the palace became the favorite residence of the emperor. In 1812, it was here, according to legend, that the “Bronze Horseman” galloped, having learned that the emperor was going to take the monument outside of St. Petersburg, fearing the approach of the French. Like, then bronze Peter said that as long as he stood in his place, nothing would happen to his beloved city. It is reliably known that here in 1812 the sovereign entrusted the command of the Russian army to Mikhail Illarionovich Golenishchev-Kutuzov.

During the reign of Alexander in the palace, according to the design of the architect Luigi Rusca, the premises of the western wing of the building were redeveloped. The decorative decoration of the halls was also changed. At this time, according to the project of the architect J. Thomas de Thomon, the Kamennoostrovsky garden was redesigned - it received a landscape layout.

After the death of Alexander, the palace became the property of Grand Duke Mikhail Pavlovich, and then his widow Grand Duchess Elena Pavlovna.

The Kamennoostrovsky Palace complex includes the Church of John the Baptist. It was built in 1776–1778 according to the design of the architect Yuri Matveevich Felten in memory of the Chesma victory of the Russian fleet. The small cruciform structure was designed in the neo-Gothic style: with lancet windows, a high bell tower tent, and a decorative combination of red brick walls with white stone carved details. The church was built from red brick, which is why people call it Red. However, the more common name among people for this church is Predtechenskaya. Next to the church there was a cemetery for Knights of the Order of Malta.

Now the Kamennoostrovsky Palace, an object of historical and cultural heritage of federal significance, is being restored.

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Palace The Persepolis Palace stood - and its remains still stand today - on a natural limestone terrace, leveled and expanded by the art of stonemasons, at the foot of Kuhi-Rahmat - the Mount of Mercy in the eastern part of the Persepolis Plain (Fig. 4). There are indications that

Marlinsky Palace.
Historian and Moscow specialist Romanyuk S.K. writes - "To the left of Lefort's palace stood the so-called Yellow Palace, also called Marlinsky. This name was transferred here from France, where the palace of King Louis XIV, the trendsetter of the then Europe, was located in the city of Marly. Unfortunately, nothing is known about the history or appearance of the Moscow palace, which probably disappeared after the fire of 1812. One of the first researchers of the history of Moscow life, poet and playwright M. N. Makarov, who lived in Moscow from the end of the 18th century until his death in 1847, wrote that court singers lived in this palace, including the elderly, who were already retired . The name “Marlinsky” was changed among the people to a more understandable one: “The common people called this house Murlyshny, which is in harmony (realizing that they purred, sang and got along here) ... The singers who had fallen asleep in their voices, as if in honor of themselves, added to their surnames That’s why the nickname of the Marlinskys happened, the Boyar of Moscow, organizing his own choir from his household, used to say that his regent was the learned singer Marlinets, who had just lost his voice.”

Slobodskaya Palace.
House No. 5.On Koroviy Brod Street, to the right of Lefortovo, there is the Slobodsky Palace, the same one that now houses the Moscow State Technical University (MSTU).

Its history begins in 1749, when the chancellor A.P. Bestuzhev-Ryumin began construction of his large Moscow house. Empress Elizaveta Petrovna often came to Moscow, and her closest adviser and head of Russian foreign policy should not have been in Moscow without his home, the place for which he chose in the most fashionable area - the German Settlement, next to the imperial palaces.

Tokke L. Chancellor Bestuzhev-Ryumin A.L.
In 1764, the palace was purchased from Bestuzhev-Ryumin for the treasury, and three years later it was presented to the empress’s favorite Alexei Orlov. However, the temporary worker hardly lived in it, the palace gradually deteriorated, so that in 1778 they even wanted to dismantle it and use the material to build the Catherine Palace opposite, on the other bank of the Yauza. In 1787, the Slobodskaya Palace was granted by Catherine to another head of Russian foreign policy - A.A. Bezborodko.
The palace was rebuilt according to the design of the best St. Petersburg architect Giacomo Quarenghi and under the leadership of the best Moscow - Matvey Kazakov, and the wooden church attached to the palace building was designed by Vasily Bazhenov. In 1794, Bezborodko wrote: “My house has been decorated and is now the first in the city.” Admiring reviews from contemporaries have been preserved about him. Many travelers who had the opportunity to see Saint-Cloud for the French queen claim that the decoration of the Bezborodkin Palace has more pomp and taste.
I.B. Lumpy Prince A. A. Bezborodko.

The newly built and decorated palace was presented by Bezborodko to Paul I for his coronation. Alexander I stayed in the former Bezborodkinsky and now Slobodsky Palace in the summer of 1812, during the war with Napoleonic France. The halls of the palace witnessed the patriotic upsurge that gripped the nobility and merchants, who generously donated to the defense of the fatherland. The general zeal exceeded the monarch's expectations: everyone snatched each other's pens and in a few minutes up to a million rubles were collected. The Emperor saw genuine feelings, saw in everyone a new Minin and could no longer be in the hall - tears flashed in his eyes, he covered himself with a scarf and went into another room.
The Slobodskaya Palace remained in the palace department until it came under the jurisdiction of the Orphanage. With the development of domestic industry, the need for skilled craftsmen grew rapidly, and the Moscow Orphanage decided to respond to the increased demand. The palace building was supposed to house 300 pupils, future students of the new craft institution at the Orphanage.
Imperial Technical School. Photo 1899 - 1902

On the right in the photo you can see a turret, about it in the next post.
The inevitable reconstruction of the palace was entrusted to the then leading Moscow architect D.I. Gilardi. In the fire of 1812, the Slobodskaya Palace suffered greatly and, moreover, stood for a long time without any use - there was no roof, its wings burned down, and only the walls remained of the central part, and, naturally, not only reconstruction, but also thorough repairs were necessary. In 1827, Gilardi presented the final project, and then reconstruction work began, ending only five years later. The architect gave the building features characteristic of the late Moscow Empire style - severity and simplicity, some heaviness, sparse decoration on large planes of the walls. Noteworthy is the decorative technique most often repeated by Gilardi, which unites the extended facade - an order arch supported by paired Doric columns.

At the house there is a church in the name of St. Mary Magdalene, built in the same year, 1830.
The center of the building was marked by a multi-figure sculptural composition made by I. P. Vitali, depicting the unity of Science and Art.

There is a funny example associated with this sculptural composition. This is a kind of monument to veneration. With the knowledge of the authorities, officials of the Crafts Institution, which was previously located in this building, erected a bust of their boss, Prince Dolgoruky, among the host of deities decorating the building, at the feet of Pallas Athena.

The building is separated from the courtyard by a lattice enclosed between several stone pillars, on which round medallions with masks and inscriptions are placed, the meaning of which remains unclear.

The vocational school, founded in 1830, was transformed in 1868 into the Imperial Technical School, which trained highly qualified mechanical engineers, builders and technologists. In 1930-1943, the school was called the Mechanical Engineering Institute, then the Moscow Higher Technical School (MSTU), and then became the Moscow State Technical University (MSTU).

In front of the university building, in the gazebo, there is a sculpture of a pelican - the symbol of Baumanka. AuthorBurganov A.N.

He is also the author of the two lions that are installed in front of the entrance.